Stalag 17 (1953) 720p YIFY Movie

Stalag 17 (1953)

Stalag 17 is a movie starring William Holden, Don Taylor, and Otto Preminger. When two escaping American World War II prisoners are killed, the German P.O.W. camp barracks black marketeer, J.J. Sefton, is suspected of being an...

IMDB: 8.04 Likes

  • Genre: Comedy | Drama
  • Quality: 720p
  • Size: 1.46G
  • Resolution: / fps
  • Language: English
  • Run Time: 120
  • IMDB Rating: 8.0/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 3

The Synopsis for Stalag 17 (1953) 720p

It's a dreary Christmas 1944 for the American POWs in Stalag 17. For the men in Barracks 4, all sergeants, have to deal with a grave problem - there seems to be a security leak. The Germans always seem to be forewarned about escapes and in the most recent attempt the two men, Manfredi and Johnson, walked straight into a trap and were killed. For some in Barracks 4, especially the loud-mouthed Duke, the leaker is obvious: J.J. Sefton, a wheeler-dealer who doesn't hesitate to trade with the guards and who has acquired goods and privileges that no other prisoner seems to have. Sefton denies giving the Germans any information and makes it quite clear that he has no intention of ever trying to escape. He plans to ride out the war in what little comfort he can arrange, but it doesn't extend to spying for the Germans. As tensions mount and a mob mentality takes root, it becomes obvious that Sefton will have to find the real snitch if he is to have any peace and avoid the beatings Duke and ...


The Director and Players for Stalag 17 (1953) 720p

[Director]Otto Preminger
[Director]Billy Wilder
[Role:]William Holden
[Role:]Don Taylor
[Role:]Robert Strauss


The Reviews for Stalag 17 (1953) 720p


Deep disappointmentReviewed byMaldororVote: 4/10

I had looked forward to this movie for a long time, especially

as it was in the IMDB top 250, but I was aghast. It was

predictable, inane, and the acting, with the exception of

Holden, was atrocious. These were cartoon people living in a

world that ran on cartoon laws. For me this was a lame, dead

duck of a movie. If the prisoners had really been so boorish and

stupid, I would have gladly informed on them myself, if the

Germans had not been even worse; the Volley-ball playing guard

apparently had a mental age of four. This is an embarrassment

compared to the earlier The Grand Illusion by Renoir, also in

the IMDB top 250. Presumably, at the time this movie was made,

people wanted some light relief, including ex-POW's, but there

must have been many who suffered in these camps who were

mortified by this nonsense. Perhaps I was approaching it from a

wrong perspective. I've repeatedly enjoyed Benini's Life is

Beautiful while many have disliked it's humorous approach to the

holocaust. I was, however, able to suspend disbelief and enjoyed

the Betty Grable hallucination. Nevertheless, these prisoners

should not have been released even at the end of the war, for

the good of humanity who might have had to sit next to them on a

bus, but perhaps they were safely transferred to Sgt. Bilko's

platoon, which is where they deserved to be????????

"Nobody has ever escaped from Stalag 17. Not alive, anyway."Reviewed byackstasisVote: 9/10

Director Billy Wilder was certainly no stranger to the horrors of World War Two. He was born in Austria-Hungary {now Poland} in 1906, but moved to Berlin to begin a career in movies. However, following the rise of Adolf Hitler, Wilder ? being Jewish ? fled for Paris and then the United States. His mother, grandmother and stepfather died at the Auschwitz concentration camp. As such, I think it'd be safe to presume that Wilder housed a considerable hatred towards Nazis, which makes his POW-picture, 'Stalag 17 (1953),' all the more remarkable. Whereas the film might have developed into a bleak, depressing drama, the screenplay by Wilder and Edwin Blum {adapted from a play by Donald Bevan and Edmund Trzcinski} effortlessly blends drama and comedy, clearing the path for other similarly-themed war-time films {David Lean's 'The Bridge on the River Kwai (1957)' and John Sturges' 'The Great Escape (1963)'} and even TV series {'Hogan's Heroes (1965-1971)' clearly used Wilder's film as a template ? including an identical Sgt. Schulz ? despite a failed court case in which producers sued for infringement}.

The year is 1944, in the week before Christmas. Stalag 17, a Nazi prisoner-of-war camp, is situated somewhere along the Danube River, and hundreds of captured Allied sergeants have been imprisoned there. The Americans of Barrack 4 endure a dull, deprived lifestyle, with each day consisting of unwholesome meals, tedious labour and uncomfortable living conditions. Displaying that typical American cleverness and resourcefulness, many of the prisoners have banded together to ensure themselves a few added luxuries ? such a makeshift radio to listen to the latest war news ? and to build an effective escape tunnel beneath the camp. However, it soon becomes apparent that there is a Nazi spy within their midst. After two escaping prisoners are immediately shot down, and their escape passage is inexplicably discovered, the men turn their suspicions towards J.J. Sefton (William Holden), a selfish and arrogant prisoner with a dog-eat-dog mentality that sees him openly bribing the German guards for luxuries. An unsympathetic character, one who nonetheless exhibits a certain streak of integrity, Sefton decides to uncover the true traitor of Barrack 4.

Though he was reluctant to play such an unlikable character, Holden won the Best Actor Oscar for his powerful performance {via the second-shortest acceptance speech in Academy Awards history ? a simple "thank you"}. The other actors in the film also create distinct and likable personalities, and I particularly enjoyed the big, oafish Animal (Robert Strauss) and Shapiro (Harvey Lembeck). Goodness knows what compelled the writers to make Sgt. Schulz (Sig Ruman), a loathsome tyrant in any other film, a jolly and hearty buffoon, but it works absolutely perfectly, his character's incompetence best highlighted in the sequence where he is distracted into playing volleyball, and enjoys the game so much that he hands his loaded weapon to the nearest POW. As Sefton attempts to uncover which fellow prisoner is leaving secret messages for their Nazis captors, Wilder intersperses the drama with an episodic flow of comedic situations, placing particularly emphasis on the means by which prisoners will alleviate their desire for the opposite sex. A hilarious sequence sees the drunken Animal mistaking his dressed-up bunk-mate for the cinema beauty Betty Grable, of whom he has an undying obsession.

Tremendous potentialReviewed byGeorge-HolmesVote: 2/10

I'm a big William Holden fan, one of the only originals to come out of that era and to me, the link between Hollywood's golden age and modern cinema.

Unfortunately there seem to be two movies at play here and alongside the hard reality, blended with the SUBTLE comedy of William Holden and some of the other characters, there come some of the other prisoners to contend with.

The two scraggly characters added for comic relief do their best to undermine attempts for the viewer to be impressed by a serious film, and unfortunately with me, they succeeded. Their scenes in the mud and drooling over the egg like Marty Feldman reminded me of Young Frankenstein, only Mel Brooks would never have jammed two such glaringly unsuited styles together in such a ham-fisted manner.

I was ready to turn off the film again when the prisoner with the grover-like voice came in to parrot orders and attention a short while later.

While the suspense mounted and the film improved, moments like those and the amiable relationship between the prisoners of the featured barrack and their German babysitter for lack of a more adequate term (though I doubt one exists) stuck in my mind and prevented me from enjoying what seemed like a very well crafted story. I can see how it survived as a play, some of the dialogue is sparing and to the point. I doubt very much that theatre audiences would have tolerated the two near-imbeciles that Hollywood seemed to think were the missing ingredient for transition to film. But then again, I found the same character on everyone loves Raymond to be insulting to me as a viewer because I'm no longer 6 years old, but many didn't seem to mind it. Perhaps I am stuck longing for a perfect movie and this had a few ingredients to take it to that level, and many stumbling blocks to ensure it never reached that point.

Billy has done solid drama and comedy, but I would rank this a failure, despite what were likely good intentions on his part.

Fans of Billy should check out Some like it Hot, fans of Holden should check out just about everything he's ever done, apart from this, through no fault of his own. Perhaps if he wasn't so good, I could have more readily accepted this film as more junk on the scrap pile. As it was, I was more eager to capture the spy who sold out a promising film than the one the prisoners were searching for.

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